British Museum blog

Making magic

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode New Science, Old Magic takes us closer to Dr John Dee and his magical world.


Greg Doran, Artistic Director Designate, Royal Shakespeare Company

I have always been intrigued by theatre magic. Dr Dee is famous for having created an amazing illusion when he was a student at Cambridge in the 1540s, and even now I can’t work out how he did it. He put on a play, Aristophanes’ Peace, in which an Athenian mortal flies to heaven on the back of a dung beetle basically to ask the Gods to stop the Peloponnesian war. How did Dee manage to convince the audience that he was flying around Trinity Hall on the back of a giant dung beetle? I would have real problems doing that in the Swan Theatre in Stratford.

Unless you have the mechanics that are available to productions like Chitty Chitty Bang Bang or Mary Poppins, that kind of illusion is really hard to pull off, so I am rather fascinated by Dee. On open stages like the Swan or the Globe, with no lighting effects to speak of and the audience wrapped all the way around the stage, it’s very difficult to hide the strings.

It is intriguing to wonder how Shakespeare and his company at the Globe created magic. We know they did have effects; they could create thunder, for example. But in the controlled environment of the indoor theatres like the later Blackfriars Theatre, where there was more theatre machinery around, they had a far greater control of light – and if you can control the light, you can control the effect.

When you go to a Shakespeare play you are wondering how they are going to do Banquo’s ghost in Macbeth or how Hamlet’s father is going to appear. On an open stage this kind of illusion is harder to do. Patrick Stewart played Hamlet’s ghost in the 2008 production of Hamlet with David Tennant and we created an illusion that wherever he went on the stage, smoke surrounded him. It was actually a little machine tucked up under his great coat, but it made him look as though he was floating on a cloud of smoke wherever he went.

We did a production of Macbeth with Tony Sher and Harriet Walter in 1999, and we decided at the end of the banquet scene we needed to spook the audience. As Lady Macbeth left the banquet, she picked up one of the candles from the table and as she left, suddenly all the candles on the table extinguished by themselves. In fact the witches were sitting under the table and pulled the wicks through the candles, which is why they went out. The witches then suddenly pushed all the chairs over from underneath the table and threw the table in the air and the audience were pretty shocked; I have to say that was fun.

We spend a lot of time trying to work out the very simple magic that, of course, Shakespeare’s theatre was investigating all the time.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme New Science, Old Magic

Find out more:
Royal Shakespeare Company
Behind the scenes at the RSC

Filed under: Shakespeare's Restless World, What's on

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Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum
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